Lord Kitchener -"Nosey Mother in Law" (Calypso sound file and lyrics)

Edited by Azizi Powell

This is Part III of a three part series on songs about mother-in-laws. This post showcases the Trinidad & Tobago Calypso song "Nosey Mother-In-Law" by Lord Kitchener. Information about the Lord Kitchener and the lyrics to this song are also included in this post.

Click http://pancocojams.blogspot.com/2014/08/malaika-mmatswale-video-and-comments.html for Part I of this series. Part I showcases the song Mmatswale (English translation: "mother-in-law") by the South African Afro-Pop group "Malaika".

Click http://pancocojams.blogspot.com/2014/08/ernie-k-doe-mother-in-law-sound-file.html for Part II of this series. Part II showcases the American R&B song "Mother-In-Law" by Ernie k-Doe.

Notice the similarities between how mother-in-laws are depicted in the American and Caribbean song and how different mother-in-laws are depicted in the South African song.

The content of this post is provided for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Lord Kitchener for his musical legacy. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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INFORMATION ABOUT LORD KITCHENER (CALYPSONIAN)
From http://en.wikipedia.org/wiki/Lord_Kitchener_(calypsonian)
"Aldwyn Roberts (18 April 1922 – 11 February 2000), better known by the stage name Lord Kitchener (or "Kitch"), was one of the most internationally famous calypsonians.[1]

He moved to Port of Spain and had his first commercial success in 1942 with the calypso song "Green Fig" (also known as "Mary, I am Tired and Disgusted"). By 1945, he was known as Lord Kitchener. He toured Jamaica for six months in 1947-8 with Lord Beginner (Egbert Moore) and Lord Woodbine (Harold Philips) before they took passage on the Empire Windrush to England in 1948.

He found further success in the UK in the 1950s, building a large following in the expatriate communities of the West Indian islands. His fame continued throughout the 1950s, when calypso achieved international success. Kitchener became a very important figure to those first 5,000 West Indian migrants to the UK. His music[4] spoke of home and a life that they all longed for but in many cases couldn't or wouldn't return to. He immortalised the defining moment for many of the migrants in writing the Victory Calypso with its lyrics "Cricket, Lovely Cricket" to celebrate West Indies cricket team's first victory over England in England, in the 2nd Test at Lord's in June 1950. This was one of the first widely known West Indian songs, and epitomised an event that historian and cricket enthusiast C. L. R. James defined as crucial to West Indian post-colonial societies. The song, later recorded by Lord Beginner, is rarely credited to Lord Kitchener although Tony Cozier and many who attended the Test at The Oval can attest that it was a Kitch composition...

Kitchener returned to Trinidad in 1962. He and the Mighty Sparrow proceeded to dominate the calypso competitions of the sixties and seventies. Lord Kitchener won the road march competition ten times between 1965 and 1976, more times than any other calypsonian. For 30 years, Kitchener ran his own calypso tent, Calypso Revue, within which he nurtured the talent of many calypsonians. Calypso Rose, David Rudder, Black Stalin and Denyse Plummer are among the many artists who got their start under Kitchener's tutelage. Later he moved towards soca, a related style, and continued recording until his death. Kitchener's compositions were enormously popular as the chosen selections for steel bands to perform at the annual National Panorama competition during Trinidad Carnival. He recorded his most commercially successful song, "Sugar Bum Bum" in 1978. He retired in 1999."...
-snip-
The Calypsonian Lord Kitchener took his name from Lord Horatio Kitchener (1850 - 1916). "Kitchener was a British military leader and statesman who, as secretary of state for war in the first years of World War One, organised armies on an unprecedented scale. He was also depicted on the most famous British army recruitment poster ever produced." http://www.bbc.co.uk/history/historic_figures/kitchener_lord_horatio.shtml

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SHOWCASE VIDEO: Kitchener - Nosey Mother - In - Law.wmv

roger Ramirez, Uploaded on May 16, 2010

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LYRICS: NOSEY MOTHER-IN-LAW
(Lord Kitchener)

It’s worse than before.
I’m tired of this nosey mother-in-law.
It’s worse than before.
I do not like that nosey mother-in-law.
They become a nuisance to married life
They want to tell you how to live with your wife
Well, it is misery, sorrow, and war
To live with a nosey mother-in-law

They come to your place.
They want to be a ruler in every case.
They lie down in bed
And it’s your wife got to do all the work instead
At 10 o clock they ain’t get up yet
And they ordering they coffee and cigarette
So it is misery, sorrows, and war
To live with a nosey mother-in-law

The wife may be nice
But the mother will surely give her bad advice.
“Your husband no good
And he doesn’t treat you as he really should.”
So she listens to what the mother say
Then comes the fighting and quarrelling.
Boys, it is misery, sorrows, and war
To live with a nosey mother-in-law.

As you turn your back
The mother –in-law starts to make your attack.
“Don’t you see the man is gone out too long
Why don’t you leave him and come back home?”
So that is the ending of everything
Your wife presents you back with the ring.
So it is misery, sorrows, and war
To live with a nosey mother-in-law
-snip-
Transcription from the recording by Azizi Powell. Additions and corrections welcome.

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Ernie K-Doe - "Mother-In-Law (sound file and lyrics)

Edited by Azizi Powell

This is Part II of a three part series on songs about mother-in-laws. This post showcases the American R&B song "Mother-In-Law" by Ernie k-Doe. Information about Ernie K. Doe and the lyrics to this song are also included in this post.

Click http://pancocojams.blogspot.com/2014/08/malaika-mmatswale-video-and-comments.html for Part I of this series. Part I showcases the song Mmatswale (English translation: "mother-in-law") by the South African Afro-Pop group "Malaika".

Click http://pancocojams.blogspot.com/2014/08/lord-kitchener-nosey-mother-in-law.html fpr Part III of this series. Part III showcases the Trinidad & Tobago Calypso song "Nosey Mother-In-Law" by Lord Kitchener.

Notice the similarities between how mother-in-laws are depicted in the American and Caribbean song and how different mother-in-laws are depicted in the South African song.

The content of this post is provided for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Ernie K. Doe for his musical legacy. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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SHOWCASE VIDEO: ERNIE K. DOE - ''MOTHER IN LAW'' (1961)



MANNY MORA, Published on Jul 23, 2014

Ernie K-Doe [February 22, 1936 – July 5, 2001],scored one of the biggest hits (possibly the biggest) in the history of New Orleans R&B with "Mother-in-Law," a humorous lament that struck a chord with listeners of all stripes on its way to the top of both the pop and R&B charts in 1961. The song proved to be K-Doe's only major success, despite several more minor hits that were equally infectious, yet he remained one of New Orleans' most inimitable personalities. Born Ernest Kador, Jr. in New Orleans in 1936, he began singing at age seven in the Baptist church where his father served as minister. During his teen years, Kador performed with local gospel groups like the Golden Chain Jubilee Singers and the Zion Travelers, when he was influenced chiefly by the Five Blind Boys of Mississippi. He entered and won talent competitions and became more interested in secular R&B and blues, and at 17, he moved to Chicago with his mother and began performing at local clubs. Thanks to connections he made there, he got the chance to sing with the Flamingos and Moonglows, as well as the Four Blazes, a gig that earned him his first recording session in late 1953 for United.

...in 1959, he caught on with the newly formed Minit label and hooked up with producer/songwriter/pianist/arranger/fut­ure legend Allen Toussaint. His first Minit single, "Make You Love Me," flopped, but the follow-up, "Hello My Lover," was a substantial regional hit, selling nearly 100,000 copies. K-Doe struck gold with 1961's "Mother-in-Law," a Toussaint-penned tune on which K-Doe traded choruses with bass vocalist Benny Spellman. That, coupled with the playful cynicism of the lyrics, made for a rollicking good time in the best New Orleans R&B tradition, and K-Doe was rewarded with a number one record on both the pop and R&B charts. He toured the country and landed a few more follow-up hits -- "Te-Ta-Te-Ta-Ta," "I Cried My Last Tear," "A Certain Girl" (later covered by the Yardbirds), "Popeye Joe" -- but none approached the phenomenon of "Mother-in-Law," and were more popular on the R&B side...

K-Doe was able to reclaim some of his popularity around New Orleans when he began hosting a radio program in 1982, earning an audience with his wild antics and blatant self-promotion. In 1994, K-Doe opened his own club, Mother-in-Law Lounge, in New Orleans, and frequently performed there in the years to come, occasionally returning to the studio as well. He was inducted into the city's Music Hall of Fame in 1995."..

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LYRICS: MOTHER-IN LAW
(composer: Allen Toussaint)

Mother in law
(Mother in law)
Mother in law

The worst person I know
(Mother in law, mother in law)
(Mother in law, mother in law)

A she worries me, so
If she'd leave us alone
A we would have a happy home
Sent from down below

Mother in law, mother in law

Satan should be her name
To me they're bout the same
Every time I open my mouth
She steps in, tries to put me out
How could she stoop so low

I come home with my pay
She asks me what I made
She thinks her advice is a contribution
But if she would leave that would be the solution
And don't come back no more

Mother in law
My mother in law, ah
Oh, yeah

Source: http://www.songlyrics.com/ernie-k-doe/mother-in-law-lyrics/

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Malaika - Mmatswale (South African song about mother-in-laws)

Edited by Azizi Powell

This is Part I of a three part series on songs about mother-in-laws. This post showcases the song Mmatswale (English translation: "mother-in-law") by the South African Afro-Pop group "Malaika". Information about the group Malaika and selected comments about this song are also included in this post. Unfortunately, I've not been able to find the complete lyrics to this song. Any help with this would be appreciated.

Click http://pancocojams.blogspot.com/2014/08/ernie-k-doe-mother-in-law-sound-file.html for Part II of this series. Part II showcases the American R&B song "Mother-In-Law" by Ernie k-Doe.

Click http://pancocojams.blogspot.com/2014/08/lord-kitchener-nosey-mother-in-law.html fpr Part III of this series. Part III showcases the Trinidad & Tobago Calypso song "Nosey Mother-In-Law" by Lord Kitchener.

Notice the similarities between how mother-in-laws are depicted in the American and Caribbean song and how different mother-in-laws are depicted in the South African song.

The content of this post is provided for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Malaika for their musical legacy. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube. And hat tip to Janell Richison for alerting me to this song in her comment that was sent to this pancocojams post: http://pancocojams.blogspot.com/2013/01/south-african-vocalist-brenda-faisse.html

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INFORMATION ABOUT MALAIKA (South African Afro-Pop Group)
From http://www.afrometro.com/article/malaika--mmatswale.html
"Matshediso Florence Mholo and Bongani Kevin Nchang - two top artists from the South African group Malaika - shine in this fourth full-length studio album titled Mmatswale. Mmatswale is Tswana (Southern Africa) for mother-in-law and was released in 2009.

The group Malaika has won many awards since their debut album, Malaika, which sold over 350,000 copies. Awards include Best Newcomer Group statuette in 2004, Best Afro-Pop Group in 2005, Best Southern African Group at the 2005 Kora awards. Their 2007 album, Sekunjalo, won them the SAMAs award.

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From http://www.channel24.co.za/Music/AlbumReviews/Malaika-Mmatswale-20090908 "Malaika – one of the first breakthrough Afro-pop acts in SA [South Africa]"
"On their third album, Mmatswale, they keep to the formula that won them hordes of followers while at the same time splashing in a dash of the new by tinting – for example – some of their house-ier tracks with an electronic edge.

On numbers like "Find a Way to My Heart", "Sail Away" and "Ndifuna Wena" expect jubilant, flighty, summer-tinted love songs delivered over hip-swaying arrangements made up of infectious polyrhythmic drums, lo-tempo keys and deep bass-lines that cross in half-way between kwaito and township jazz. "Mmatswale" and "Roma Nna" showcase that patented Malaika sound: gospel-touched, warm and celebratory – as catching as an ululation, trumpet-y and chorus-heavy, guaranteed to get the dance floor heaving under the weight of summer-time revellers breaking into the 'bus-stop'.

The album has its calmer moments, too. Tshedi and Bongani take the opportunity to flex their vocal-chord brawn on the acoustic-driven, poppy, adult-contemporary tracks “Then Came You” and “Farewell” which, admittedly, seem like slow burners if not entirely out of place on Mmatswale. The pan-African unity-driven “I’m an African” is, on the other hand, a pleasant surprise. Very experimental by Malaika’s standards, it sounds like the baby version of the Ivorian hit “Premier Gaou” by Magic System – only steeped heavily in Mzantsi jazz trumpetry.

Looking at the CD cover it’s hard to believe that Malaika arrive with one member short on Mmatswale. When Jabu Ndaba – former third wheel and group co-founder – lost a battle to TB in 2008 it seemed like Malaika would be filing itself into obscurity. However, if Mmatswale and the globally scattered internet comments are anything to go by, it doesn’t seem like this will be happening anytime soon. The group’s making some of their most interesting music to date"...

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SHOWCASE VIDEO: Malaika - Mmatswale



African music videos - Museke, Uploaded on Feb 23, 2010

New hit track from South Africa's Malaika

http://museke.com/node/4900 Home of the African Music Fan

Malaika is made up of Matshediso Florence Mholo and Bongani Kevin Nchang
Video edited by Andy Sherman for Black Orange Productions, directed by Mpumi Cuka and coloured at Blade; shot on RED
-snip-
These excerpted lyrics are from a summary statement of another video example of this song:
"MALAIKA - Mmatswale

Mother in law, leave those pots...
Cose the one who should deal with them is coming.
Give her some space...
I love her crazy...
She is the one for me to be my wife"

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SELECTED COMMENTS ABOUT THE SONG "MMATSWALE"
From http://www.zawadi.info/south-africa/malaika-mmatswale/
1. daveangelo4u, September 8, 2011
"@misslivinlife88 “love him/her so much” its a traditional Tswana wedding song."

2. AdjoaTeiba, September 9, 2011
can somebody translate this for me? I absolutely love it but i don’t understand it cuz im from Ghana…

3. Nanaadjoa1990, September 9, 2011
"@proclusive matswale tlogela dipitsa tseo mongwatsona ke yo o etla.. the song is saying mmatswale (mother of the groom) should stop cleaning the pots or cooking n move aside coz the new owner (caretaker) is here..it’s a traditional tswana song…oh the memories!"

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From https://www.youtube.com/watch?v=5VuHFJ4EOI0
gemzyangel, 2010
"oh wow, am from Ghana, but lived in Botswana all my life, n i must say this song really brings back memories from all those tswana weddings i went to!! thanx for posting it up..... :)"
-snip-
Note: Tswana people are in Botswana and South Africa.

ASPRINALARD, 2011
"Just attend a wedding in Botswana to hear the original version of this brilliant song! It's beautiful too! They have pure voices!"

3. Letticia Makgopa, 2013
"the song is about the mother in law basically she is being told to leave the cooking alone because the son has a [w]ife and she will take care of that"

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Singing Spirituals Using 19th Century Black Dialect

Edited by Azizi Powell

[Title revised 8/13/2014]

I acknowledge that there are different opinions among African Americans and non-African Americans about the appropriateness of using 19th century "Negro dialect"* while singing Spirituals. For some people the question is one of preserving the authenticity of these Spirituals and not "watering them down". However, I'm much more concerned about how 19th century dialectic words may be interpreted as a reflection of the lack of respect for the intelligence and the literacy of African Americans in the past, and in the present. Perhaps if racism wasn't still so very much a factor in the present, I wouldn't be as concerned about how Black people are depicted in our songs.

The main reason why I don't like to hear Spirituals or any other songs in 19th century Negro dialect is because that dialect reminds me of black-faced minstrel songs. Those minstrel songs are heavy on Negro dialect and are full of highly offensive depictions of Black people. I admit that Hearing songs that include 19th century Negro dialect-particularly when sung by non-Black people- makes me cringe.

Furthermore, not all Black Americans way back in the 19th century and the early 20th century used dialect. And the earliest Black touring groups who introduced Spirituals to the world didn't use dialect.

From www.jstor.org/stable/4145494
"The Use Of Dialect In African- American Spirituals, Popular Songs, and Folk Songs" by J Graziano - ‎ Black Music Research Journal © 2004 Center for Black Music Research - Columbia College Chicago - ‎ p. 261
"The presence of vocal works that use dialect in African American culture has been a controversial and difficult area of inquiry for those investigating the phenomenon. Dialect was first heard in the minstrel shows that toured the United States and Europe* before the Civil War (Mahar 1999). They continued to be performed as well after the Civil war, although not as frequently by professional groups. Textually, many minstrel songs presented derogatory caricatures of African Americans and slave culture known from its depiction of southern plantations. By the 1870s African American dialect was still heard, most often in minstrelsy, although probably also in some sacred repertory as well. While spirituals and jubilees sung in church may have used dialect, existing evidence suggest that touring college groups such as the Fisk Jubilee Singers and the Hampton Students avoided the use of dialect when they performed spirituals as part of their programs…Undoubtedly the use of standard English in these publications and public performances reflected a desire to demonstrate that African Americans were educated and could sing and speak in standard English.”
-end of quote-
Here's another quote on this topic from "American Negro Folk-Songs" by Newman Ivey White - 1928 [Page 27 - Google Books] books.google.com/books?isbn=0674012593
"Dialect may be considered a characteristic of the spirituals and the older ... but Negro dialect was never so standard or consistent as dialect writers have made it and it is now so obviously on the wane and so obviously (where it exists at all) merely a mixture of ordinary illiterate English with a few dialect survivals that it is no longer a very significant element, except in a few localities such as eastern South Carolina*.
-snip-
*Eastern South Carolina is where African Americans known as "Gullahs" people are from.
-snip-

I believe that when it comes to 19th century "Negro dialect", less is best. In my opinion, it's better (and more politically correct) to convert old time dialectic words which are no longer used in conversational speech to the forms that are now commonly used by African Americans and non-African Americans. For example, words such as "de", "dem", "dose", heb'n", "chillun” and "gwine" should be changed to "the", "them", "those", "heaven", "childen", and "gonna" or "going to". Also, "dis" should be changed to "this", "der" to "there", "dor" to "door", "jes" to "just". I believe that the word "mammy" and "massa" are highly offensive to Black people and should be changed in songs to "mother" and "Master" [note the custom of capitalizing words that refer to God and Jesus.) Furthermore, the words "Lawd" and "Lawdy" should be changed to "Lord".**

However, it's appropriate and preferable to continue to sing dialectic or informal English words which are still used in general conversation. For instance, the word "ain't" shouldn't be changed to "am not", for example in the line "I ain't gonna study war no more". Also, the word "got" shouldn't be changed to "have" ("I got shoes" shouldn't be changed to "I have shoes". And the word "'round" shouldn't be changed to "around" in Spirituals. Notice that that word isn't changed in the folk song "She'll be comin' round the mountain when she comes."

Furthermore, I believe that singers should retain the "a" that is added for rhythmical purposes to words such as "a-turnin'". And singers can continue to drop the final consonant in the words such as "turning" and "morning", although it seems to me that is optional. If the final letter is dropped, that line would be "There's a little wheel a-turnin in my heart." and not "There's a little wheel a-turning in my heart".

With regard to pronunciation, I believe that it's not only appropriate, but preferable to pronounce the "a" as "ah" as this is the way that most African Americans informally pronounce that word. Therefore, "There's a little wheel a-turnin' in my heart" would be pronounced "There's ah little wheel ah-turnin in my heart".

To each his or her own, but these are my opinions on this subject. And I believe that a number of African Americans agree with me regarding these suggestions for using and not using 19th century Negro dialect while singing Spirituals. It's my direct & indirect experience as an African American that we (African Americans) rarely use such dialetic language in our performances of Spirituals. I'm interested to read what you think about this subject.

*It's also important to note that since the 1960s, the word "Negro" is no longer an acceptable referent for African Americans (Black Americans). Also, for various reasons, most African Americans consider "Negro" spelled with a lower case "n" to be highly insulting. However, "negro" may be purposely used by African Americans to refer to another Black person who is always seeking White favor, and/or otherwise talking and acting in ways that aren't in the best interest of Black people (i.e. "an Uncle Tom").

**That said, under certain circumstances, in online conversations and otherwise, some African Americans consciously "code switch" to long retired forms of "downhome" (Southern) speech including "dis" for this and "dat" for "that" and "Lawd" for "Lord". I refer to this conscious use of African American dialect as "Putting On The Black". Click http://pancocojams.blogspot.com/2012/03/puttin-on-black-viewer-comments-about.html for a post that I published on that topic.

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Dennis Brown - Africa (Africa We Want To Go) lyrics & examples

Edited by Azizi Powell

This post showcase two versions of the Reggae song "Africa" (Africa We Want To Go) as sung by Dennis Brown.

The content of this post is provided for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Dennis Brown for his musical legacy. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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INFORMATION ABOUT DENNIS BROWN
From http://www.musicianguide.com/biographies/1608002621/Dennis-Brown.html
"Born Dennis Emmanuel Brown on February 6, 1957, in Kingston, Jamaica; son of Arthur Brown; married to Yvonne; 13 children; died on July 1, 1999, in Kingston, Jamaica.
Early in his career as a child star during the late 1960s, reggae singing legend Dennis Emmanuel Brown, received the nickname of "boy wonder of Jamaican music." In 1981, reggae fans unanimously ordained Brown with a new title, "Emmanuel, the Crown Prince of Reggae" and the undisputed heir apparent, following the death of reggae "king" Bob Marley. Brown, with his extremely powerful tenor and distinctive singing voice, established himself easily as one of the most impressive reggae artists of the twentieth century. A happy and friendly man, Brown amassed a loving and loyal following throughout his career, and upon his death at the early age of 42, he was widely eulogized for his outgoing personality. He recorded more than 100 records, including over 50 albums, from the time he was in his teens. The world of reggae music lost a "towering talent," noted Billboard magazine, when Brown passed away on July 1, 1999.

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LYRICS: AFRICA (AFRICA WE WANT TO GO)
Ah-ah-ah-ah-ah-ah Africa..

Oh-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Ah-ah-ah-ah-ah-ah..

Africa we want to go, yeah-yea!
Africa we want to go.
Go-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Africa we want to go..

Our fore parents were born Ethiopians.
Our fore parents were born Ethiopians.
Whoah-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Our fore parents were born Ethiopians.

It's the land of the Lion of Judah,
The roots of David, who have prevailed,
To open the books and to lose the seven seals,
Thereof..
Africa we want to go, well, yea!
Africa we want to go.
Go-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Africa we want to go.

Africa, yeah,
Where want to go.. yeah,
Whoah-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Africa we want to go.

Brothers and sisters;
Join hands together!
Come along.. come-a, come along, yea!
Whoah-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Africa that's where we're going, yea!

Africa we want to go, yeah-yea!
Africa we want to go, yes!
Whoah-oh-oh-oh-oh-oh..
Oh-oh-oh-oh-oh-oh..
Africa we want to go, yes!
Whoa Africa!
We don't want no bondage there, no.

Source: http://jah-lyrics.com/index.php?songid=279 http://jah-lyrics.com/index.php?songid=279

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SHOWCASE VIDEOS

Editor's Comment: According to a commenter, Dennis Brown recorded three versions of this song. I don't know which of these versions (if either) are the original version of this song as sung by Dennis Brown. There are a number of examples of this song by other vocalists. I also don't know if Dennis Brown was the first person to record this song.

Example #1: Dennis Brown - Africa We Want To Go



Boomsteppah, Uploaded on Mar 3, 2010
-snip-
Comments:
Juliet Berry, 2010
"He has like three versions of it, but the song is "Africa" By Dennis Brown"

**
VelvetViolator, 2011
"This must be the '85-version from "Slow Down" ! The original version has a runtime of 3:34 and is from 1978."

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Example #2: Dennis Brown - Africa (extended)



MELARASTA, Uploaded on Feb 12, 2012

old roots

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Voguing Death Drops & Death Drops In Other Performing Arts (information, speculation & examples)

Edited by Azizi Powell

This posts showcases several different performance arts movements that are known as "death drops". Featured in this post are examples of death drops in LGBT ballroom voguing, RuPaul's Drag Race television show and other drag performances, majorette/contemporary dance groups (battle stands), figure skating, salsa dancing, and contemporary swing dancing.

This post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in this post and thanks to the publishers of these videos on YouTube.

WARNING:
All forms of death drops can be very dangerous, and shouldn't be attempted without proper instruction or practice.

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FORMS OF DEATH DROPS: BALLROOM VOGUING
"Vogue, or voguing, is a highly stylized, modern house dance that evolved out of the Harlem ballroom scene in the 1980s.[1][2] It gained mainstream exposure when it was featured in Madonna's song and video "Vogue" (1990),[3] and when showcased in the 1990 documentary Paris is Burning... After the new millennium, Vogue returned to mainstream attention when the dance group Vogue Evolution competed on the fourth season of America's Best Dance Crew.[4]

Inspired by Vogue magazine, voguing is characterized by model-like poses integrated with angular, linear, and rigid arm, leg, and body movements. This style of dance arose from Harlem ballrooms by African Americans and Latino Americans in the early 1960s. It was originally called "presentation" and later "performance".[2] Over the years, the dance evolved into the more intricate and illusory form that is now called "vogue". Voguing is continually developed further as an established dance form that is practiced in the gay ballroom scene and clubs in major cities throughout the United States—mainly New York City.

Formal competitions occur in the form of balls held by "houses"—family-like collectives of LGBT dancers and performers.[2][5]

...Hand performance refers to the illusions and movements of the arms, wrists, hands, and fingers. The catwalk is the upright sashaying in a linear fashion. The duckwalk refers to the crouched, squatted, foot-kicking and scooting movements requiring balance on the balls of the feet. Floor performance refers to the movements done on the floor using primarily the legs, knees, and back. The dip is the fall, drop, or descent backward onto one's back with one's leg folded underneath. Mainstream dance forms popularized the dip, which is occasionally called the "death drop" when done in dramatics style. Due to popular media, the dip is sometimes incorrectly called the "5000", the "shablam", and the "shabam"; these misnomers stem from ballroom commentators chanting the word "shawam" when a voguer successfully completed a dip in time with the music while entertaining the audience.
-snip-
Italics are included to highlight this definition of "death drop".

I'm curious about how the voguing death drop came about. Is the death drop an outgrowth of the Lindy Hoppers' fancy dipping dance movements? Click http://en.wikipedia.org/wiki/Whitey's_Lindy_Hoppers for information about the Jazz (Swing) dance groups that were known as "Whitey's Lindy Hoppers". That name was used by several groups of professional [African American] performing groups of Savoy Ballroom swing dancers. [Those groups were] started in 1935 by Herbert "Whitey" White. Lindy Hoppers under other names also performed professionally during the late 1930s and thereafter. Click https://www.youtube.com/watch?v=xnECH77wL5c for a film clip of Whitey's Lindy Hoppers in the late 1930s.

Also notice that the sentence following the one which is given in italics indicates that "mainstream dance forms" popularized the death drop. I wonder if that sentence means that the movements that are known as "death drops" in figure skating, salsa dancing, and swing dancing were modifications of the voguing death drop.

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FEATURED VIDEOS

VOGUING DEATH DROPS AND DEATH DROPS PERFORMED IN MAJORETTE/DANCE ROUTINES

Example #1: Vogue: Dips & Drops [LGTB Ballroom]



Jay SetterUploaded on Apr 6, 2010

Jay R. Revlon Mix Conceited Ha
-snips-
Here are two comments from that video's discussion thread:
silvermoonwolf19, 2011
"Someone give me the story. The death drop is something that requires alot of practice and conditioning, right? You can't just bust it out after watching, correct?"
**
Carlos Silva, 2011
in reply to silvermoonwolf19
"@silvermoonwolf19 yes it need alot of practice u just cant bust into a drop after watching this vid lol just start simple like having ur legs bend back like how they do it and have it get used to it u know stuff like that"

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Example #2:
Laganja Estranja Death Drop at Toucans [Drag queen nightclub performance]



eyesofsaline, Published on Sep 23, 2013

Werk!
-snip-
Laganja Estranja is the stage name for a drag queen who was a contestant on Season 6 of the American television series RuPaul's Drag Race. Notice the two different types of death drops that Laganja performs.

"Werk!" ="Work!" (meaning that the person addressed is doing a great job)

Another contestant on two earlier seasons of RuPaul's Drag Race, Shangela Laquifa Whatley broke two bones in her leg while performing the death drop on stage at a nightclub during a Halloween party. Previously, Shangela traveled widely teaching the death drop which she considers/ed her signature move. In 2011 Shangela was also was featured on the American television show Dance Moms teaching the death drop to those dance students. Here's a statement from Shangela's [DJ Pierce] statement about that injury:
"DJP: I was performing on stage at the Halloween event in New York City at Providence Nightclub. I was in the middle of a number, I did do a death drop, and I came down the wrong way -- my leg didn't go in the direction that it usually goes for the death drop. I don't know if my heel had gotten caught on the carpet of the stage or how that worked out, but anyhow, needless to say, it did break two bones in my lower right leg, the tibia and the fibula. They basically just snapped right there on stage. I've been doing the death drop for the last three years. I don't think it was the death drop itself that broke my leg. It was a death drop gone wrong that broke the leg."
http://www.huffingtonpost.com/justin-hernandez/rupauls-drag-races-shangela_b_4564177.html
-snip-
Shangela reports that this injury resulted in over $100,000 in medical bills. This injury points out how dangerous doing death drips can be.

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Example #3: Bring It!: Stand Battle: Dancing Dolls vs. YCDT Supastarz Part 1 (S1, E15) [Death Drop In Majorette/Dance Battle Stands



Lifetime Published on Aug 7, 2014
The Dancing Dolls start the battle with the stand "Stuntmaster" and the YCDT Supastarz respond with a stand called "Hush Puppy," in this video extra from Episode 14 (A New Rival Emerges) of Bring It! [American television program]
-snip-
A very brief example of death drops occur at .25 of this video.

The YCDT [Young Contemporary Dance Theatre] Supastarz that are featured in the video given as Example #3 in this post ended their stand battle with the Dancing Dolls by performing a death drop routine that is the same or very similar to the MNW [Miami Northwestern] High School dance team's routine that is shown in that video. Unfortunately, Part II of this battle stands ends before it shows the Supastarz's death drop routine.

From comments that I've read online*, it appears that a number of the YCDT Supastarz attend MNW, and may be, or may have been members of that high school's dance team which is an auxiliary of that school's athletic teams.

I wonder if the "Hitch kick death drop is a new development of the death drop itself. If so, did this move originate with that Miami, Florida high school dance team?

*From lipstickalley.com "Re: BRING IT!! Season 2 Airs Tonight @ 9 The Dancing Dolls Are Back!"

Warning: Some comments in this discussion include profanity, explicit references, racialized statements and other content that I find problematic. For that reason, I'm not linking to it.

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Example #4: 2012-2013 MNW Golden Girls "Hitch kick death drop" [high school dance team]



heatdiva, Published on Sep 22, 2012

08/24/12 death dropping at their 1st pep rally

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Example #5: 2012-2013 MNW Golden Girls "Hitch kick death drop" [high school dance team]



heatdiva, Published on Oct 28, 2012

Ggirls death droppin & split walking at the MNW vs. Central game 10/27/12

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DEATH DROP IN FIGURE SKATING

Piece on Men's Short Program Elements - 1988 Calgary



3Axel1996, Uploaded on Oct 26, 2009

Calgary, Alberta, CANADA - 1988 Winter Games, Men's Short Program - Piece on Short Program Elements. Note Boitano's death drop. Perfect. Skaters these days don't have the flight and amplitude in the air to perform this move properly anymore. These days, it looks more like a flying camel-to-immediate-back sit spin.
-snip-
From
http://figureskating.about.com/od/glossarylett3/g/deathdrop.htm figure skating
"The difference between a death drop and a regular flying sit spin is the position of the skater in the air. Also, a skater takes off from one foot and lands on the other. In the death drop, the position is horizontal to the ice and the skater's body faces towards the ice for a short second. In a regular flying sit spin, the skater just does a traditional sit spin position in the air and lands on the take off foot. The positions in the air and the spins are really very different.
1988 Olympic Figure Skating Champion, Brian Boitano, did a spectacular death drop."
-snip-
The voguing death drop and figure skating death drop don't appear to have anything in common but their names and the dangers associated with performing those movements.

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DEATH DROP IN SALSA DANCING

How To Do the Death Drop in Advanced Salsa



TVLessonDotCom, Published on Jun 20, 2012

Advanced Salsa - How To Do the Death Drop in Advanced Salsa

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DEATH DROP IN SWING DANCING

Deathdrop walk through.MP4



David Berger Uploaded on Sep 3, 2010

This Video is an in class demonstration for ASU's Ballroom Latin Swing Classes of the Death Drop Dip. It can be performed in a variety of dances. Do not try this step without proper practice or instruction.
-snip-
As I speculated earlier in this post, I wonder if the death drop in Salsa dancing and in Swing dancing are adaptations of the voguing death drop. Or was the voguing death drop an adaptation of the Swing dance or the Salsa dance movement?

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Kwabena Kwabena - "Aso" (examples & comments)

Edited by Azizi Powell

This post showcase the song Ghanaian Highlife vocalist Kwabena Kwabena's 2006 hit song "Aso" . This title is sometimes given as "Asor". Information about Kwabena Kwabena, Examples of that song and selected comments from YouTube viewer comment threads are also included in this post.

The content of this post is provided for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Kwabena Kwabena for composing and performing this song. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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INFORMATION ABOUT KWABENA KWABENA
"Kwabena" is a Ghanaian day of the week name which means "male born on Tuesday". Click http://www.top-100-baby-names-search.com/ghanaian-baby-names.html http://www.top-100-baby-names-search.com/ghanaian-baby-names.html
for more information about Ghanaian days of the week names. Click http://ofmtv.com/akan/twi.html for a Twi dictionary.

From http://www.ghanaweb.com/GhanaHomePage/people/person.php?ID=285
"George Kwabena Adu aka Kwabena Kwabena was born in Accra on 17th October 1978...

He started playing guitar and leading the church choir at age 14. He started his music career at Hush Hush studios, provide backing vocals for other musicians. He worked with artists like Tinny and A-Plus, and also did all the choruses on the "Sounds of Our Time" compilation.

His first album titled "Kwabena Kwabenaâ" took him seven years to produce. His popular Aso featuring Kontihene still remains a favourite for many Ghanaians. The song won him the 2006 Ghana Music Award for Best Male Vocal Performance and Best Song Writer. He has performed with international artists like Hugh Masekela and he has featured on more than 30 songs by other musicians. He released his second album in 2008 and is enjoying enough airplay."

**
From http://people.peacefmonline.com/pages/musicians/kwabena_kwabena/biography/
..."His popular “ASOR” featuring Kontihene still remains the favourite of more Ghanaians.
“Asor” which was also the promotional track on his debut was done by the might Appeatus. That track really was a real inspiration that happened to a close friend.

Though his friend’s wife was not called Asor, he chose that name because it is a typical Africa name and easy to mention in terms of singing. He truly believed his album will really take him far and it did, winning him the best vocal performance and best song writer in the last Ghana Music Awards. He prays for the growing of the industry just because he knows that there are more talented people out there who if really taken care of will turn to be international stars."

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SHOWCASE VIDEOS:
Example #1: kwabena kwabena - Aso



LillmillY1, Uploaded on Nov 13, 2010

i´ve been searching for it for soooo long so i had the great idea to put it on myself =)
good right =D

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Example #2: Kwabena Kwabena - Performs 'Asor' @ Akwaboah video premiere | GhanaMusic.com Video



Ghana Music•com™, Published on Sep 29, 2013

Check out Kwabena Kwabena performing 'Asor' at Akwaboah's 'I Do Love You' video premiere.

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SELECTED VIEWER COMMENTS
Note: These comments are numbered for referencing purposes only.
From https://www.youtube.com/all_comments?v=rflQzY9yKwc&lc=GtItNuemi_6e6vLpBh1XVj-Uqwna4LorI3R_4Pwi4L4

1. josh paajoe, 2011
"This song is one of the best Ghanaian songs ever it made history when it was released..pure highlife,palm-wine music ..Can't say much..Kwabena Kwabena is a living legend."

From https://www.youtube.com/watch?v=Q7mHO-6rWlA
2. Damilola Onamusi, 2010
"I'm Nigerian And I LOVE This Song Can Anyone Translate What Is Being Said Please"

3.LillmillY1, 2010
in reply to Damilola Onamusi
"yes of course hes talking bout his girlfriend cause she cheated on him with is best friend. so hes tellen her he really loved her he gave her everything she wanted and all that but now he wants everything back and her out of his live. thats it actually can sombody translate it better i´m not sure if thats good lol"

4.Angie Darkwa, 2012
in reply to Damilola Onamusi
"basically he left his girl with his best friend to go on holiday and they cleaned his house out"

5. Oseik500, 2010
"Beautiful use of the twi language and twi idoims. We have such an expressive language; such a shame that most of us are too embrassed to speak, read or write it!"

6. TheGodloving, 2013
"this song made me feel special and and a bit o.O because im aso too"....

7. housemusic9005, 2013
in reply to TheGodloving
"Sorry to hear that you are a aso. I guess it makes you stronger they say but your right this is a top song. A true classic. I dont think it will ever get old and it is one of those songs that all age groups love. Big up kwabena kwabena!"

8. asterisk848, 2012
"For shizzle to my rizzle this song is smoking hot .. U can tell the dude sang this song straight frm his heart & how he felt"
-snip-
I know that "for shizzle means "for sure". "My rizzle" probable means "my race" (i.e. "my people").

9. Shirley Ogoe, 2013
"i think this is the greatest highlife song!!! i love this too much!!"

10. randomloves47, 2010
"I hear this song at Ghanaian parties all the time! I wondered who sang this song."

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